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TOP 500 REVIEWERon 30 August 2014
Having a tannoy as a narrative thread is a masterstroke. It persists in telling us what is wrong with the USA. We watch certain individuals on a journey of complete ordinaryness in a land of fake. Singing bland sentimentality. Socially approved. Desperate people.

This blu ray is immaculate. I watched this widescreen depiction of the clamour to be average on projection. It is quietly compelling. It is a statement about the Kennedy assassinations. The desire to be bland together.
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on 29 October 2013
You must read the small print clearly, this is a German dubbed version and not a German subtitled version. Great film ruined by being dubbed do not buy unless you speak German!!
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on 23 March 2015
Robert Altmans epic drama covering the lives of a bunch of individuals who descend on Nashville over a number of days. Made a year before America celebrated 200 years in existence and a year after Richard Nixons resignation this movie probably says more about America than any other movie in the 70s.A huge cast with Lily Tomlin ,Henry Gibson ,Keith Carradine and Ronee Blakely outstanding as the troubled C&W singer Barbara Jean .Altmans masterpiece, We must be doing something right to last 200 years...
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on 24 March 2006
A perpetual womaniser sings a ballad in a club in a desperate attempt to attract a woman he has been trying to cavout for a lengthy period. We see the eyes of three women in turn, who he has had alternate flings with as their faces fill with their heartfelt desires. We see it objectively; through Altman's subtle yet unostentatious photography - that simple, yet transcendental human emotion for each other. 'Nashville' is a gourgeous mosaic of those basic human relationships, characteristics, behaviour traits, lifestyles and attitudes that form our very being.
Altman is a great director, yet unlike many of his counterparts his portrayal of his characters is not full of cynicism and disdain. He never tries to alienate his protagonists from our sympathy. Through the plethora of characters he displays here we see not only the cross-section of America society, but most likely of life itself - each character's humanity is shown without a sugar-coat, yet without a vail of misanthrophy either.
'Nashville' is a sensitive and clever film. It flows seamlessly from situation to situation, from conversation to conversation. Altman's focus is to depict each character in turn with their dilemmas and flaws, but also their redemming qualities as well.
This is an excellent film, one of the best that America's ever produced. Buy it now without delay!!!
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on 10 January 2010
Ever since I first saw this film in (was it?) 1975 on a double bill with American Graffiti I loved it and it remains one of my favorite films. I'll keep this brief because others have reviewed it perfectly adequately. I'm astonished that Nashville, considered by many to be Altman's masterpiece, hasn't been released on Region 2. I wait and wait but nothing happens. I did wonder whether it would date after 35 years. I agree with Mr. Fango that Opel is very annoying, but so many of the other characters are so good and their stories interwoven so well. And it has one of the best endings ever. Watch out for Jeff Goldblum's non-speaking first role. I guess it's not to everyone's taste, especially those who just can't stand country music. (This film is too universal to be dismissed for that reason.) Also, for Mr. Fango: Dusan Makavejev's "Montenegro" is also a fave of mine. Also only available on region 1. Aaaaarrrrgh!
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on 21 August 2013
Buyers beware this film is in German and not English. I made the mistake of thinking it was in English with German subtitles
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on 12 January 2004
This is a great film from a golden age of American film production. It is unusual for Altman, since with about an hour of music in it you could almost call it a musical. But other typical characteristics are there, with its wonderful ensemble cast, natural filming and sound, understated sense of humour and dark overtones.

The story as it is based around 24 main characters and five days of their life in Nashville. The characters are an eclectic mix: the stalwart country institution Haven Hamilton (played wonderfully by Henry Gibson), Ronee Blakely's fragile, doomed country singer Barbara Jean, perpetual womaniser Tom Frank (Oscar winner Keith Carradine), Opal - an upper-class English reporter who never seems to really notice what's going on around her (Geraldine Chaplin) and so on.

The cast themselves wrote and sang all of the music (with considerable help from Richard Baskin). Carrdine's Oscar winning song "I'm Easy" is the one most people think of when they think of this film, but it's not the only highlight. Some of the songs are rather good in their own right - particularly "Dues" by Ronee Blakely, "Memphis" by Karen Black and "It don't worry me" by Carradine again. Others are fantastic for their earnest pomposity - particularly Henry Gibson's songs. The singing is at times patchy (most of the cast aren't singers and Altman recorded many of the songs in one take): Lily Tomlin isn't really a Gospel singer, Cristina Raines struggles a bit, and Timothy Brown doesn't have much of a voice. But by far the worst singing is also some of the most effective - Gwen Welles's as Sueleen Gay, the desperate wannabe country singer, is far the more painful and affecting to watch because she can't sing a note.

The occasional failings in the cast's musical performance make the film all the more realistic. Realism is enhanced by aligning this with the authentic Nashville locations and the fact most of the musical performance scenes don't include extras as such, rather genuine Nashville crowds watching the actors as they would any other Nashville show. As with many other Altman films it at times feels almost documentary like.

Anyone who likes Altman's style will love this film. Those who are unfamiliar would be well placed by making this the film to look out for if they want to find what the man is all about. It is rapidly becoming one of my favourite films and one that stands the passing of time. An undisputed classic.
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on 16 July 2014
After 40 years this classic finally available on DVD and only available on amazon where I live in Ireland.
This is Altmans masterpiece and the digital transfer is excellent given the films age.
Amazons delivery performance was incredible - I pre-ordered on Sunday night, the day before official release and I had it on Tuesday morning in Ireland - amazing Amazon!!!
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TOP 500 REVIEWERon 16 August 2010
Brilliant, funny, sad and epic look at 1970s America, following 24
characters over a few key days in Nashville. An amazing combination of
political satire, hysterical send up of the country music business
and touching and moving character studies.

If one wants to quibble there are minor flaws; overstated performances
at moments, ironies that are a bit too easy, but the overall sweep,
power, the great performances and the sheer number of moments that make
you want to laugh and cry simultaneously, are overwhelming.

Certainly one of the great films of the 70s, and arguably among the
greatest American films ever made.

It's shocking to think that this amazing film, on many '100 greatest films
of all time' lists, is out of print on DVD.
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TOP 500 REVIEWERon 12 February 2015
It is very easy to watch Robert Altman's sprawling, improvisational take on all things `70s America' (as depicted by Nashville's 'dog-eat-dog' country and western scene) and to wonder what all the fuss was about back in 1975. After all, the film's first hour of meandering character introduction in Altman's 'post-hippy', post-Vietnam, post-Watergate world appears to be going nowhere and (what's more) there's all that C&W music (I cast my mind back to John Peel's definition thereof!). But, actually, what (for me) becomes apparent on 2nd, 3rd, 4th, etc, watch is that (once again) Altman has coaxed some career best (or very close to career best) performances from an expansive and disparate cast (Keith Carradine, Lily Tomlin, Karen Black, Barbara Baxley, Barbara Harris, Michael Murphy, Gwen Welles, newcomer Ronee Blakley, etc) and succeeded in stitching together a highly ambitious human drama - in a 'tale' of jealousy, grief, delusion, love, pretence, vanity, mental breakdown, political manipulation, corporatism, etc, to match (or, at least, get close to) his 1993 masterpiece, Short Cuts - as well as giving us one of the most cutting (and subtle) satires on the American dream ever to reach the cinema screen.

What precisely prompted Altman to send collaborator and screenwriter, Joan Tewkesbury, to this particular (Tennessee) city and 'make notes' (to be used as the basis for the film) is not clear (even from the film-maker's interviews on the subject) - though, it is not surprising that 'the city' reacted negatively to Altman's film, purportedly because the music (self-written, remarkably, by the actors performing the songs) did not find favour with the locals, but also (I suspect) because of the film's predominantly cynical take on (what happened to be Nashville) humanity. To tie his ambitious `soap opera' together Altman devised a number of narrative devices - the political thread as evidenced by the (anti-government) Replacement Party (whose 'roaming van's' commentary works in tandem with Michael Murphy's obsequious party apparatchik, John Triplette) and the film's dramatic denouement, as well as Geraldine Chaplin's brilliant turn as (allegedly) roving (and starstruck) BBC reporter, Opal, and Jeff Goldblum's mysteriously silent and omnipresent motor tricyclist.

A particularly striking feature of Nashville is the naturalism of the acting - attributed by Altman to the fact that these (largely self-written) characters reflected the actors' own personalities and sentiments. And, as Altman's drama ratchets up in intensity (admittedly from a pretty low base) in the film's second half, we get many powerfully emotive scenes - most notably for me, the exploited gullibility of (the brilliant) Lily Tomlin's well-intentioned wife, Linnea (a character the actress was to largely reprise in the later Short Cuts), the distraught 'Kennedy rant' by Barbara Baxley's Lady Pearl, the personal tragedy of Keenan Wynn's Mr Green (calling to my mind Jack Lemmon's turn in Short Cuts), the 'fall from grace' of Ronee Blakley's established C&W star, Barbara Jean, the devastating humiliation of Gwen Welles' 'aspiring star', Sueleen Gray and (of course) Keith Carradine's delivery (to admiring eyes) of the song I'm Easy.

It's a film which benefits from (and arguably requires) repeat viewings.
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